Page 6 | Topeng - masks of Central Java

Spirit of the mask

Contents

Topeng - masks of Central Java (1)

Basic iconography (2)

Alus masks (3)

Gagahan masks (4)

Characters (5)

The spirit of the mask (6)

In performance (7)

Seleh Notes Volume 1 Number 2 March 1994

© By Jo Shaw

The tari topeng seem to be special. Masks are treated with a respect which goes beyond the simple monetary value of a beautiful artifact.

There is a feeling that the spirit of the mask is important and exists separately from the dancer, so that when the mask is placed over the face one is inhabited by the character rather than merely assuming it.

A fine alus dancer named Bambang Besyur (formerly STSI and Mangkunegaran) once told me, as I was preparaing for my own masked performance, how he prepares for a mask dance.

For days before the performance he would wear the mask around the house, carrying out everyday tasks in it and thus introducing the character to every aspect of his life.

He even wore it in the kamar mandi (bathroom)! That is, he became the character.

Pak Ripto described this process as 'masuk' which means literally to go in, therefore to enter into the spirit of the character.

 

To do this as a performer you have to dig deep into your own personality and it is much easier, in a way, to do this with the help of a mask, because of its power of immediate transformation.

So, in my own experience, knowing that I look right facially helps me emotionally to perform.

Practice mask - see page 3

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